NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is launching a new national programme designed to create jobs, address skills gaps, and strengthen South Africa’s creative industries — in line with the SEF’s overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at claire@musicinafrica.net. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

Overviews

Popular music in Swaziland

22 Jun 2016 - 08:15

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This text provides an overview of some of the main popular music genres in Swaziland.

Music and dance play a huge role in Swazi culture. Song was traditionally used as a method of storytelling and has since evolved with the culture. Fast forward to 2016 and the Swazi musical landscape is more colourful than ever, with something for everyone. Popular genres from hip-hop to gospel have all taken on a Swazi identity. The fact that Swaziland has a small population (approximately 1.2 million people) suggests that the market in the country is limited. Most consumers access music through the radio as this is the most convenient and has greater reach than television or the internet. 

Popular 'Swazi soul' artist Bholoja. Photo: Dave Durbach / Music In Africa

The popular genres and artists in Swaziland are as follows:

Gospel

Since religion is an important part of Swazi society, gospel is probably the most popular genre. The genre’s success lies in the fact that its message remains relatable to most people. Most of Swaziland’s gospel stars are originally church bands or singers that have made the transition to commercial spaces. Ncandweni Christ Ambassadors and Shongwe & Kuphuka are two of the best examples. These gospel groups helped define the distinctive electric organ sound that is indicative of most Swazi groups that followed. They both enjoy support from South African audiences, while some of their members establishing solo careers like Mzwakhe Myeni of Ncandweni Christ Ambassadors.

As older generations step aside, a new crop of young gospel artists is emerging, breathing new life to the genre that has to compete against other genres in the country. One such star is Nothando Hlophe, who got her break when she auditioned for the all-female gospel collective Women In Praise. Set to launch her debut album in early 2016, with the following she has garnered as a member of Women In Praise, this young singer is set to make a mark on the genre.


Swazi Soul

‘Swazi soul’ as it has been coined is a combination of Afro-jazz, folk and soul that has taken on a Swazi form of expression, mainly through being expressed in Siswati. The genre has gained prominence over the years thanks largely to the efforts of artists like Bholoja, Sandz and Velemseni.

Bholoja is one of Swaziland’s most celebrated singers, known for his unique style influenced by traditional harmonies that keep Swazi culture at the centre of his sound. Bholoja pioneered this genre with the release in 2010 of his debut album, aptly named Swazi Soul. He paved a way for singers to embrace their language and share Swazi stories through the conduit of guitar-driven songs.

Sandz is Swaziland’s rising star, enjoying tons of attention with his single Vuma’ (translated as ‘agree’). The soft-spoken guitarist is also planning on releasing a full-body of work to much fan anticipation. Sandz has taken the genre and moulded it to satisfy a much younger demographic.

The genre also has female representation in the form of Velemseni. The singer has a clear, soothing voice that shone in her debut album “We Are All People” back in 2012. Like Bholoja and Sandz, she is a guitarist and most of her songs have a large guitar influence but her sound captures the more “afro-jazz” side of the genre.


Hip-Hop

Hip-hop is a genre that has spread across the world and Swaziland is no exception. In its initial stages a distinct Swazi sound was missing, but rappers have finally been able to create an authentic Swazi sound, especially by incorporating more Siswati into their music. Today Swaziland has a thriving hip-hop culture.

A pioneering artist in the genre is rapper KRTC (pronounced Courtesy). He has been in the industry for over ten years and in 2016 in plans to release Unleashed. Hip-hop in Swaziland has also been shaped by producers like Mozaik and Sub Jamz. It has been a collective effort to give Swazi hip-hop the distinct identity it currently enjoys. A genre that literally used to have a small number of artists now boasts a wide selection of talent, each one with a clear, recognisable ‘flow’, including Illa Pen Boy, Psycholution and 80 Script, who is set to release his debut album That of Greatness later in 2016. These and other young acts are quickly redefining the genre by presenting an authentic narrative that captures an honest view of the many facets of Swazi life.

The inception of the Hipnotik Festival, a local hip-hop festival hosted every year around July, is testament to the popular following that hip-hop enjoys in Swaziland today. The festival has hosted a long list of local hip-hop acts as well as others from neighbouring South Africa, including Cassper Nyovest, AKA and Riky Rick. The genre enjoys plenty of airplay on both of Swaziland Broadcasting and Information Services (SBIS) radio stations, SBIS 1 and SBIS 2.

Hip-hop is currently a worldwide phenomenon, and Swaziland is no exception, with the related ‘trap’ trend also influencing songs produced in the kingdom.


R&B

The R&B genre is currently experiencing a revival in Swaziland as artists like Tiyas King, Amanda Mo and Joseph Alexander are taking the genre forward. Since this genre is hard to define clearly because it takes its influence from a range of other genres, R&B in Swaziland arguably hasn’t enjoyed strong visibility in the past. But that is changing now as the genre begins to enjoy airplay on local radio stations and support from audiences.

Another aspect that has kept the genre alive is collaborations between R&B stars and hip-hop artists and DJs. For example, R&B star Tiyas King recently featured on DJ Master P’s hit ‘Winner’s Circle’, which spent weeks on the local charts on SBIS 2. Collaborations like this have helped Swazi R&B artists gain access to audiences that would have previously been inaccessible to them. Tiyas King also recently collaborated with Nigerian superstar Ice Prince on a song[i]. He also recently released a single called ‘Laws Of Attraction’ that is gaining traction beyond Swaziland’s borders.


House

One of the most popular genres in Southern Africa, house is mostly influenced by artists from neighbouring South Africa. Arguably the first house album to be released in Swaziland was back in 2006 - The Swazi Pride: House Culture Vol. 1 by DJ Mixmash & Foster. The album was wholly produced by the DJ duo and pioneered the early days of the Swazi house movement. Volume 2 was released in 2009.

The Antidotes are a group of five Swazi house producers, although they are sometimes confused as South African. The team is known for their popular remixes like Nomalungelo Dladla’s ‘Imiyalo’. They have their own record label, Antidote Music, which they plan to use to produce and promote more Swazi house acts.


Reggae

Swaziland is home to a substantial Rastafarian population and many lovers of reggae music. Jamaican musician Peter Tosh performed in Swaziland in December 1983. Since then Swazi reggae has assimilated traditional African folk influences that give it a unique sound. Some of the most popular Swazi reggae artists are Ras Ritchie, Pachanga and Ras Reggie, co-founder of the veteran Swazi reggae outfit Imphandze and Black Roses who enjoyed success in 1980s and toured neighbouring South Africa and Mozambique. Ras Reggie and Ras Ritchie have been keeping the genre alive by collaborating under the name Ras Reggie & Ras Ritchie Project. Pachanga is well-known for her seamless incorporation of the traditional African sound into her reggae music.

Local radio station SBIS 2 has a reggae-themed show every Thursday afternoon, which plays both local and international reggae music. It is a platform that gives up-and-coming Swazi reggae acts the chance to showcase their music. The country’s thriving reggae culture came to the fore in December 2014 when local venue House On Fire hosted the inaugural Swazi Sunsplash festival, modelled on the famous Reggae Sunsplash in Jamaica.


Country

One of the most unexpected genres to exist in Swaziland is country music - but Swazi country has long enjoyed a cult-like following. There aren’t many active artists but there are legends like Isaac Gamedze and Buddy Masango, who have pioneered the genre and kept it alive. The most popular country act at the moment is Dusty & Stones, who sing in both Siswati and English. Dusty & Stones first album Country Fever (2012) inspired another young singer Cleopatra Methula, soon dubbed the “first lady of Swazi country”, who is set to release her Indilinga in 2016, based on King Sobhuza II’s famous dream.

The genre may not enjoy much airplay on local radio stations, but there are strides being taken to reach a more mainstream audiences. There are shows held throughout the year aimed specifically at local country fans, featuring collaboration between various Swazi country artists. The genre certainly adds to the interesting diversity of pop genres in the kingdom of Swaziland.


[i] Msibi, N. "Tiyas collaborates with Ice Prince". Times Of Swaziland, 20/05/2016 <http://www.times.co.sz/entertainment/107966-tiyas-collaborates-with-ice-prince.html>

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